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THE MENTOR •
DEPARTMENT OF FINE ARTS
MAY 1, 1917

A CARICATURE IN LACE— ITALIAN, SIXTEENTH CENTURY

A strip used for curtain, valance, or counterpane

LACE AND LACE MAKING

By ESTHER SINGLETON
MENTOR GRAVURES MENTOR GRAVURES

VENETIAN RAISED POINT PILLOW AND BOBBINS

Chalice Veil, 1650
MECHLIN
Greatly magnified
POINT D'ALENQON
COURT TRAIN OF IRISH
VALENCIENNES, THREE POINT
SPECIMENS Made for Queen Mary
Eighteenth century
BLACK CHANTILLY FAN MOUNT
of England
Nineteenth century

" Wisdom with periwigs, with cassocks grace,

Courage with swords, gentility with lace." Connoisseur

"To know the age and pedigrees

Of points of Flanders and Venise." —Uuiihras

IKE old violins, old lace makes a direct appeal to the

romantic fancy. But Venetian, Alencon, Brussels, Mechlin
and Honiton carry us farther than a Stradivarius, a Guarne-
'rius, or an Amati; for rich lace belongs to the class of
heirlooms. Treasured from generation to generation, lace
gains, in addition to its intrinsic beauty, a sort of atmosphere
that makes the beholder think instinctively of the personages who owned
it and of the brilliant scenes amid which it was worn.
Artistic lace, with designs of flowers, figures and scrolls upon a cobweb
of threads, was first made in the sixteenth century. It xeached perfection
in the seventeenth and eighteenth centuries. In common with many
other beautiful arts, th^^home of lace-.making-:w-as Italy. When the Sforza
(sfort-sah) property was divided in 1493 the inventory of Beatrice d'Este
(dess-te), Duchess of Milan (Este —
a famous old princely Itahan family),
gives a list of fine laces that fell to her share. The first portraits in
which lacejjccurs are of the earlj/^Florentine School; and to these we must
go, &5 we do to in^ntories, sumptuary laws {i. e. laws regulating private
expenditure) and contemporary documents, for knowledge of ancient lace.
Entered as second-class matter March 10, 1913, at the postoffice at New York, N. Y., under the act of March 3, 1S79. Copyright, 1917,
by The Mentor Association, Inc.
 LACE AND LACE MAKING

EARLY SIXTEENTH CENTURY GERMAN LACIS, OR DARNED NETTING

Representing the story of David and Goliath

Lace appears in the old inven-

tories ofFrance and England, in
company with braid and gimp, as
passament, or passement. descrip- A
tive adjective usually tells if it is
made of gold, silver, silk, or linen
threads. Passament dentele (toothed,
from the French dent, tooth) occurs
ITALIAN POINT, SEVENTEENTH CENTURY
in the inventory of Henri II of Used for collars and cuffs, and to trim large ruffs
France (1547-1559) ;, but the fine den-
telle (dahn-tell) de Florence, which Marguerite, sister of Franfois II, owned
in 1545, brings us a little nearer to the French word for lace, dentelle.
The word lacis (lah-see) was used by the poet, Skelton(i46o-I529), to
describe braid. His line is "The sampler to sew on, the lacis to embraid."
It was a cord or braid. The word lace appears in the Bible; but the
translators used the word to define braid; for the open-worked and
decorative adornment that we call lace,* was described in the reign of
James I as "purls," "points" and "cut-work."
The earliest open-worked lace is Reticella (ret-tee-chel'-lah) , or Gotico
(got'-tee-co) . Needlepoint Guipure (gee-pure') is another name for it.
It is stiff, with geometrical open-worked patterns and a spiky edge. We
see it in nearly all the early Italian and Flemish portraits.
Guipure is applied to all large patterned laces with coarse grounds, and
which have no brides (breed) (or joinings of threads from pattern to pattern)
and no delicate reseau (ray-so, meaning network). In old days Guipure was
used to define a gold, or silver, braid, worn only by the rich and on the livery
of the king's servants. The "tape guipures" of Italy and Flanders were
famous. Black silk guipure was made chiefly at Le Puy (leh pwee), France.
Early Reticellas were made of stiff threads, button-holed over and
having little spiky knots at regular intervals. Patterns gradually became
•Perhaps the first application of the word lace to describe that open-worked fabric of linen with inwrought or applied
patterns occurs in Watreman's Fordie f o<;«obs(1555), which says " The men sat at home spinning and working of lace.
LACE AND LACE MAKING
more ornate: circles, wheels, triangles and so- forth were systematically
arranged, as anyone can see who examines the lace collars and cuffs in the
portraits of the fifteenth and sixteenth centuries. The home of this lace
was the Ionian Islands, but its manufacture spread from Italy throughout
Europe. "Cut-work," or drawn-thread work, was also a name for
Reticella. Its effect is the same as the geometric needlepoint lace. "Cut-
work" was made for three centuries, with few changes. The old patterns
were handed down for generations. Lacis (lah-see), darned netting, or " spi-
derwork" is known today a.^ filet (fee-lay). It was very popular in Italy.
Siena was so famous for it that one of its names is "Siena Point." The
pattern is simply darned with the needle upon a plain ground of coarse
net. Lacis lent itself to all kinds of designs, from small squares with
simple patterns to large ones with intricate pictures, religious or secular.
Lacis was made in long strips, or in separate squares, and joined. It was
much used for table-cloths, bed-hangings, and other household decoration.
Catherine de' Medici (deh may'-dee-chee) had a bed draped with such
squares. She kept her handmaidens busy making them. Her inventory
gives 381 unmounted squares in one coffer and 533 in another.
Lacis seems to have been an old art before Vinciola (vin-chee-o'-la), a
most celebrated designer, published his book of patterns in Venice in 1587.
Lacis was sometimes combined
with Reticella, as is shown in the
pattern-book of Isabella Catanea
Parasole (1616).

Whence Came Lace?

In the sixteenth century a new
type of lace became popular, its
elegance harmonizing with the splen-
ITALIAN POINT, SEVENTEENTH CENTURY
did costumes of the Renaissance.
The kind that appears as the collar in the portraits of
Marie de' Medici The exquisite Point Lace, poetically

HONITON
Tradition says that the worlier was paid as many shillings as would cover the lace
 LACE AND LACE MAKING
called Punto in aria
(stitch in the air), with
its motives of grace-
ful scrolls and lovely-
flowers, was developed
in Venice. In early
days its patterns show
affinity with the ara-
besques of Persian
ornament. Whence
came this exquisite art.
which Arachne* herself
cannot imitate?
Antiquaries have
ITALIAN POINT
sought in vain for its Made in the Tyrol about 1650
origin. Lace seems to
have been unknown to the Far East, and Egyptian discoveries yield
nothing but drawn-work, cut-work and embroidery in the way of artistic
manipulation of threads. The home of diaphanous lace is still a mystery.
But it was perfected in the city that "held the gorgeous East in fee."
May we not believe that lace, like intarsid (or Inlaid work of bone and
ebony), damascened metal and richly-colored ceramics, also came from
Eastern sources.? Lace, moreover, may have been derived from the
Saracens of Sicily, or from the Greeks of the Morea, the Ionian Islands
or Constantinople. That the darned netting (lacis) has a Byzantine
appearance nobody will deny.

Point Lace and Pillow Lace

There are only two kinds of hand-made lace: Point Lace and Pillow
Lace. The first is made with the needle, and is called Needlepoint, or simply
Point; the second is made with bobbins on a pillow, and is called Pillow Lace.
The name Pillow Lace is unfortunate, because lace of all kinds is sup-
ported on a pillow while being made, no matter whether the maker uses
her needle, plies the bobbins, or simply knots the threads with her fingers.
Point Lace gets its name from the French point (pwan), a stitch. Its
French name is Point cT aiguille (pwan dagwee), literally, the point of the
—
needle needlepoint, as we say. The name has been given to some laces
to denote superiority of workmanship, as in the case of Point cTAngle-
terre (pwan dongletare), Point de Valenciennes (pwan deh val-lon'-see-enn).
Point de M
alines (pwan deh mah-leen), Punto di Milano (poon-toe dee
mee-lah-no) and Honiton (hon-ee-ton) Point, which are not Point laces
at all, but Pillow laces, as they are made with bobbins. This still further
confuses the classification of lace.
In order to determine to which class any specimen belongs, the toile
(twah-lay), solid part of the pattern, and the ground-work should both be
examined through a magnifying glass. The ground is either a network of
*Arachne was, in Greek legend, a maiden who challenged the goddess Athene to a contest in weaving and was changed
by Athene into a spider
4
LACE AND LACE MAKING
fine threads, called reseau; or it consists of slender threads, or ties, called
brides, which connect the different parts of the patterns. The brides are
frequently tipped here and there with little spikes, or knots, called picots
(pee-co). The edge of the pattern is also sometimes decorated with these
picot tips. In some laces the ground consists of both reseau and brides.
No matter how intricate the pattern and no matter from what country ,

the specimen comes, there is but one kind of stitch in all varieties of Point 4
Lace. This stitch is the familiafToope37oF'^T)utton-hole" stitch.
In Point Lace the solid parts are always made of rows of looped
stitches, closely \Yorked, or loosely worked, with small open spaces left
in the patterns. When reseau (network) is used for the background, the
meshes are made of loosely looped stitches. Sometimes the needle is
twisted twice in each stitch to keep the mesh open.
When brides are used they are made of one thread, or two threads,
fastened across the patterns; and these brides are closely button-holed
over. The picot ornamentation is also
button-holed over.
EUl^^Jjace (or, more properly, Bob-
bin Lace) altogether different. The
is
toile is_compQsed_pf threads that cross
each^ other, more pr^less at right angles,
like Jthe threads of woven materials.
The brides consist of twisted, or plaited,
threads and the picots of single loops.
Pillow Lace is divided into, two classes
(i) The pattern is worked firston~the
pillow and the reseau (network) filled in
afterwards. To this class belong Punto
di Milano, Brussels Pillow {Point d^An-
gleterre) and Honiton. (2) The pattern
and the reseau (network) are made in
one piece on the pillow.
While Venice continued to make
and export magnificent Point, Genoa and
Milan did a large trade in Pillow Lace.
A great deal pf the lace that we see in
the portraits of this period is the coarse
LACE NET, OR RESEAU and heavy Genoa Bobbin, with dentic-
Nos. 1, 2 and 3 are Venetian
stitches. Nos. 4 to
15 are various kinds of nets. Nos. 16 to 36 are ulate edges. The "wJieatgEaiii"* orna- fk.-€f^
—
patterns stars, circles, wheels, lattice worlc, etc.,
mentation
a characteristic. This lace
is
used for decorative fillings

was suited for boot-tops, garters, shoe-

roses, collars and cuffs and' scarfs. It did not go out of fashion until 1660.
Centuries ago our English ancestors called Pillow Lace "Bone-lace" v^-
(Sir Thomas More went to his execution in a ruff trimmed with Bone-lace),
Vi^'
* This is also a characteristic of Maltese lace, as was natural, because Genoa workers were taken to Malta in 1833, to start
the lace industry there.
 LACE AND LACE MAKING
because the bobbins were made of bone.
When we remember this, the line in
"Twelfth Night":
"The spinsters and the knitters in the sun
And the free maids that weave their threads with bone."

gains in picturesqueness; and we see the

lace-makers busy in the sunshine with
their pillows and bobbins.

Lace in the Sixteenth Century

It was not
until the sixteenth century
that lace-making became a lay industry.
In England it was long called "Nun's
work." Pale sisters toiled over needles
and bobbins in the convents with the
same patience and eyes trained to minute
vision that the monks used for their
illuminated manuscripts. Throughout PILLOW WITH BOBBINS
Showing on a strip of Pillow Lace nearly
Europe lace was made in wealthy homes, completed
it

and some women founded workshops and

schools. The wife of the Doge Grimaldi, who set up a workshop in Venice
and employed 130 women at her own expense, was not an exception.
Wars, persecutions and conquests shifted people of all classes from
country to country. The bloody sword of Alva sent thousands of,-Elemish
'
refugees into England and France. In 1564 a colony of lace-makers settled
-^n Honiton, Devonshire, bringing their patterns and methods with them.
No wonder then that Honiton Point closely resembles an open kind of
Belgian lace of which large " sprigsjl are characteristic. __^
Flanders disputes with Italy the invention of both needlepoint and
bobbin lace as hotly as she disputes the art of writing madrigals.' But
whether she stands first or not with regard to this invention, her lace-
workers, scattered by the "Spanish
Fury," taught the making of bobbin
laces to every country of northern
Europe. For instance, Barbara Utt-
mann, who introduced the making
of bobbin lace into Germany, learned
the work from a Fleming.
In England, the Fleming "TroUe
Kant" became known as trolly lace,
the trolly being a thick outlining cord,
or cordonnet (core-don'-nay) . Trolly
lace was quite expensive. It was
much worn in the eighteenth century,
BEADED PINS ^.^^ frcqucutly figures in the adver-
Used in outlining the pattern in Pillow Lace tisCmCUtS in American UCWSpaperS.
 LACE AND LACE MAKING
Brussels, Antwerp (with its pot of flowers) and Mechlin were all
known and imitated in England in the sixteenth century. Belgium, at
that time, claimed the lace of Lille (resembling Mechlin) and also that
of Valenciennes, then in the province of Hainault (ay'-no). _A great
deal of fine lace went to Spain from Flanders; for, in the sixteenth
century Flanders was a part of the Spanish domain. Charles V, a native-
~oF Ghent,* commanded lace making to be taught in all the Belgian
schools. Preferring the Netherlands to the foreign country over which he
ruled, he carried as much of their atmosphere as he could into Spain. Furni-
ture-makers, engravers, painters, tapestry-weavers, lace-makers and other
artisans were transported in large numbers. Spanish., workers were in
return sent to the Low Countries. Conse-
quentTy there was an. interchange of styles
between Spain and the Netherlands.

The Lace Industry in France

Catherine de' Medici set the fashion for lace
in France. She brought in her suite from Flor-
ence F. Vinciola, who was appointed pattern-
maker for laces and needlework to the court. He
published a number of pattern books in Paris,
chiefly for needlepoint and darned net. During
the reign of Henri III (1574-1589) lace began to
be more important, especially as an edging to
the frilled ruffs that men and women both wore.
VENETIAN ROSE POINT
The most complicated of laces
In the last days of Henri IV (1589-1610) ruffs
gave place to turned over collars of linen
V
edged with lace; these were followed by small
turned down collars made entirely of lace.- Next came the tall fan-shaped
"Medici Collar," brought from Italy by Marie de' Medici.
Pattern-books of importance were now published. Lace began to
be used on everything; but, even so, the French trade was not large.
Those who spent the most money for lace purchased "Venetian Points."
Cardinal Mazarin (maz'-za-rehn) tried
to suppress the importation of foreign laces
and to improve the home manufactures by
introducing patterns from Italy. But it was
Colbert^(coll-bare), Louis XIV's prime min-
\ isteiywho made French lace an item of trade,
He said: "Fashion should be to France
what the mines of Peru were to Spain."
However, ten years before Colbert said
this Le Puy (leh pwee) had become a cen-
ter for lace-making, and the Duchesse
ITALIAN PILLOW (OR BOBBIN)
de Longueville (doo-shess deh long-veel), The so-called "tape"
Seventeenth century.
Conde's sister, had brought lace-makers to variety

* English pronunciation "gent," with the hard "g.' French pronunciation *'gahn,'' with the nasal
'

7
 LACE AND LACE MAKING
Qiantilly (shon-tee-yee).
Colbert now estab-
lished his famous school
near Alen^on, taught
by lace-makers from
Venice. Other work-
shops were founded in
Le Quesnoy, Arras,
Rheims, Paris, Sedan
and Argentan.
Point d''Alengon
WHITE SILK SPANISH LACE
(pwan dal-lon'-sohn) Nineteenth century
or ^^ Point de France''''
was at first an exact imitation of Venetian Poini, but soon the clever
French invented a beautiful reseau (network) of needlework, imitated from
the bobbin network ground of Flemish lace. This was a novelty; for
Point lace had never before been grounded on net. How human eyes and
human fingers can produce this is a marvel, for an authority tells us:
"The average size of a diagonal, taken from angle to angle, in an
Alencon, or so-called Argentan, hexagon, is about one-sixth of an inch,
and each side of the hexagon is about one-tenth of an inch. An idea of
the minuteness of the work can be formed from the fact that a side of the
hexagon would be overcast with some nine or ten button-hole stitches.

Fashions in Lace
Those who have made a study of old portraits, prints, and costume-
plates, realize use has been made of lace at all periods. Lace
how much
was always considered by the fashionable world the most exquisite of adorn-
ments. It is not by accident, nor in satire, that an engraving called
"The Prodigal Son," by Abraham Bosse, a celebrated French engraver of
the seventeenth century, represents the richly dressed mother holding
out to her repentant child a large collar trimmed with splendid lace. Any
properly constituted "blood" of the period would have returned from the
pigs and husks for such an inducement.
This was just the kind of collar that
Frans Hals loved to paint with sure,
swift strokes of his magic brush; and
exactly such lace is seen in the portraits
by Porbus, Coques, Rembrandt, Rubens
and Van Dyck.
What a bewildering array of lace-
trimmed and of furbelows and
articles
fineries made of lace comes to memory
as we think of the "Fashion Parade" of
the past! Here they come: great circu-
MILAN PILLOW (OR BOBBIN)
With many ornamental stitches lar ruffs, collars and cuffs, falling collars.
LACE AND LACE MAKING
Medici ruffs, cravats, scarfs, garters, shoe-roses, lace-trimmed boots, shirts,
handkerchiefs, masks, fans, caps, aprons, three-tiered "commodes," "Brus-
sels-heads, " lappets, falbalas, flounces, wrist-ruffles, berthes, barbes, shawls,
—
parasols in all styles and shapes, and of many patterns, textures and weaves.
Where should we begin a short survey of artistic lace where should we end ? —
When we remember the hundreds of portraits in European galleries
showing the subject holding in his, or her, hand a lace-trimmed handker-
chief, the hand itself framed by a cuff of lace, or transparent lawn, lace-
trimmed, we are fain to believe that the artists loved to paint lace as much
as their sitters loved to wear it.
The enormous ruff tipped with lace that came Into fashion about I.S40,..
and which in England was called the "French ruff" and in France the "Eng-
lish monster," was edged in England with "Bone lace," much of which
was made by the Flemish refugees in Dover and Honiton. These ruffs
required much lace, but not so much as those that Queen Elizabeth
wore. Twenty-five yards of Bone-lace were necessary to trim one of those
huge filmy butterflies rising above her head. The Queen had a yellow
neck, and the style helped her hide it. So she wore higher ruffs than
anybody in the world except the Queen of Navarre; and she piled
—
finery on them ^jewels, pearls, lace and golden threads.* Her spjecial taste
was for the laces of Flanders and
the "cutworks" and "points" of
Italy. Her court followed her taste,
although much "Bone-lace" and
Spanish lace were worn. The latter
Katherine of Aragon had introduced.
Though the Puritans frowned on
lace —we may read Stubbs' history
BRUSSELS POINT FAN MOUNT
to know how ferociously — it is inter-
Nineteenth century. Showing floral designs esting to remember that when Crom-
well's body lay
in state it was
draped with the
most splendid
Flemish Point. _
In the reign of
Charles II, the
English court
wore lace in pro-
fusion. Gallants
even filled their
wide boot-tops
with rich ruf-
fles, Cinq-Mars

BLACK cHANTiLLY LACE SHAWL (, s an K- n;i ahr)

The kind our grandmothers used to draw through a wedding-ring to prove its delicacy WHO dlcd in
*See Mentor No. 124 for a gravure picture of Queen Elizabeth in the court costume here referred to.

9
 LACE AND LACE MAKING
1642, left three hundred lace-trimmed boots
The demand for Flemish Point in Eng-
land occasioned smuggling on a large scale,
and Parliament, wishing to protect English
lace, passed an act prohibiting all importa-
tions. But the wealthy English would have
their rich Flemish lace; and to supply them
the merchants bought lace in Belgium, smug-
gled it into England and sold it as "Point
d'Angleterre," or "English Point." Under
that name it often went to France. This is
corroborated by the Venetian ambassador
to the English court, who wrote home in MECHLIN
1695: "Venetian Point is no longer in fash- The pattern and network are made at the
same time on the pillow
ion; but that called English Point, which
you know is not made here, but in Flanders,
and only bears the name English Point to distinguish it from the others."
This lace was Brussels Point. However, a good deal of " English Point"
(which is not Point but Pillow) was made at Honiton by the descendants of
Alva's refugees, in "sprigs" and patterns resembling the kind of Belgian
lace we now call Duchesse (also a Pillow Lace).
At this periodJLouis XIV was proudly buying Alencon and Argentan.
At the King's fete at Marly (1679) when the ladies retired at sunset to
dress for the ball, each found in her room a dress trimmed with exquisite
Point. To the Siamese ambassadors the King gave in 1685 cravats
and ruffles of "French Point."
William and Mary, of England, who seem to have run every mania
into the ground, were as wildly excited over lace as over china. The
Queen's lace bill for one year was £1,918 (^9,590). William's was three
times as much. This was the age of lace ruffles, lappets, commodes, and
the loosely twisted Steenkirks that were named
from the battle of Steenkirk (1692). Queen
Anne's list of laces mentions Brussels and
Mechlin. Every gentleman now had at least
two Point Lace cravats; but the fair ladies,
though fond of their lace, cared still more for
china, for, if we may believe Addison, "The
women exchanged their Flanders Point for
punch bowls and mandarins."
Nevertheless, the belles filled their long
"pagoda sleeves" with Mechlin, Brussels and
Honiton, and the beaux concealed love letters
in their "weeping ruffles." If we may credit
the lace was worn in "High Life
satirists,
Below Stairs"; butlers, they say, refused to
VENETIAN RAISED POINT carvc thc " Roast Beef of Old England" for
LACE AND LACE MAKING
fear of spoiling the ruffles they, too, wore at their wrists. But if ruffles
descended, aprons came up in favor. They were soon dismissed again, for
Beau Nash tore off the Duchess of Queensbury's apron at Bath, which
cost two hundred guineas (^i,ooo) and was of the richest Point, exclaiming
as he did so that "none but Abigails appeared in white aprons."
In the days of Louis XV
France subjected lace to strict etiquette.
There were "summer" laces and "winter" laces. The lovely soft
"blonde" came in fashion in 1745 and increased in popularity when Marie
Antoinette appeared in the French Court. She used it for the fichu
(fee-shoo) of which she was so fond.
ly
The French Revolution killed lace for a time, and many lace-makers
were guillotined because of their association with aristocratic dress.
In 1789 the States General, in arranging the costume of the Tiers
hat (tee-yares zay-tah), ordered the nobility to wear a lace cravat. Napo-
leon, who was a great lover of lace, made
the wearing of the Alen9on and Brussels
obligatory at Court. He gave many orders
for lace with new patterns in which the
Bonaparte bees were generally present. In
the nineteenth century England began to
patronize her own industries. Queen Ade-
laide had a splendid dress of Honiton.
Queen Victoria followed her example, and
had her wedding dress, which cost £1,000
(^5,000), made of "Honiton sprigs."
In 1840 there was a rage for Chantilly
black lace shawls, veils and parasol covers.
Our great-grandmothers were able to buy
POINT D'ALENgON
The chain pattern outlining the scallops
importations in the New York shops.
Again, in the middle of the century, the
Empress Eugenie made lace popular. As was natural, she favored her
own Spanish lace, and loved thq deep flounces that one still sees in Spain.
The most splendid lace dress of the period became hers in 1859. This
was of Point d'Alenqon. Napoleon III bought it for 200,000 francs
(^40,000). In later years the Empress gave it to Pope Leo XIII.
Eugenie also made black lace popular again; and the well-dressed
Parisians, Londoners and Americans all had their black lace shawls,
barbes, parasols, fans and "sacques."

SUPPLEMENTARY READING
A HISTORY OF LACE By Mrs. E. Bury Paliser THE LACE DICTIONARY By C. R. Clifford
Revised by M. Jourdain and Alice Dryden POINT AND PILLOW LACE By A. M. S.
HAND-MADE LACE By Mrs. F. Nevill Jackson ANTICHE TRINE ITALIANE By Elisa Ricci
OLD LACE By M. Jourdain SEVEN CENTURIES OF LACE
EMBROIDERY AND LACE By Ernest Lefebure By Mrs. John Hungerford Pollen
,*» Information concerning the above books and articles may be had on application to the Editor

II
THE OPEN LETTER
"Dear Editor: The Mentors are so delightful ested in knowing it, we are glad to tell
and so tantalizing. For instance, in the 'Precious
—
Gems'^which is a gem in itself there is a Thibetan you. The picture is I43^xi2j<4 inches.
Holy Picture made of gems. On the back of this We give the dimensions of pictures where
picture is a description of the Peacock Throne. And, there is a good and sufficient reason for
again, there is a picture of Queen Elizabeth in her
court costume. I would like a full description of this
doing so. We stated the dimensions of
costume, and of the jewels she wears. In most cases the original pictures in the case of the
in The Mentor, the 'monograph' on the back of a gravure reproductions of Miniatures in
gravure picture describes the subject of the picture.
Why do you not always do so.'' Please tell me about
Mentor No. 123. This was done because
the Holy Picture, and especially its size. I know that the size of a Miniature is one of its inter-
you think size is very 'material' and has little to do esting features. In most cases the size of
with art, but I like to know and I am very 'material.'
a painting is neither important nor inter-
Even the grim world of Shades will lose its terrors for
me if I may 'make and measure it.' " Louisa Brent. esting. It certainly has little to do with
As a rule we print on the back of a its art value. In the case of a good picture,

gravure picture a description of that par- size does not count, and in the case of a
ticular subject, but it is not possible to do poor picture, the bigger it is the greater
so in every case. There are many inter- the offense.
esting and beautiful pictures about which • • •
—
very little is known there are others that Just a word about Mentor Service. I
are sufficiently explained in their titles. don't think that some of our readers ap-
That picture of Queen Elizabeth is an in- preciate what it really means. We get
teresting one, but no descriptive matter many letters daily from people asking
concerning the costume can be found. questions on subjects in the various fields
The title, however, makes clear what it of knowledge, and we have a staff of no
is. The Thibetan Holy Picture is a beau- less than twelve who devote time specially
tiful curiosity — a sacred picture composed to replying to these inquiries. If we
entirely of gems. That fact is stated in printed in The Mentor the responses of
the title, and that is about all there is to interest that we supply in one week, the
say concerning it. material would fill fifty Mentors. Those
• • • that take advantage of this service value
There another answer to the ques-
is it. "I want to express my appreciation of
tion. We frequently have important sub- the comprehensive manner in which you
jects that demand special treatment in answered me," writes one of our members.
these monographs, and no pictures to go "I had no idea that you took so much
with them. Our "Gem" number would trouble. I think it would be well to call
not have been complete without the story attention to the fact that The Mentor
of the famous Diamond Necklace or — Service is a great time-saver. There is so
without an account of the Peacock Throne. much that the 'man of the street' has no
But there are no authentic pictures of these time to read. Most people would prefer
two subjects. So we print these stories to write to The Mentor and have you dig
on the backs of pictures that have self- out of the mine of the world's knowledge
explanatory titles, and about which, there just what they want to know. It saves
is no descriptive matter. We link two them time and trouble."
things together —
an important story that • • •
has no picture, and an interesting picture
that has no descriptive story and we give— Why not try The Mentor Service you—
who have not written to us? If you want
.

our readers the benefit of both. The essen- to know further about subjects covered
tialthing is to give Mentor readers the in The Mentor, or want to have a question
greatest amount of interesting information answered in the various fields of knowl-
possible within the limits of each number.
edge, or want assistance in a course of
• • • reading, or a program for a reading club,
Our correspondent asks —rather apolo- write to us. We have
getically —
for the size of the Holy Picture. helped others, and we
Don't apologize. If you are really inter- can help you. ^^tog^
Editor
LACE AND LACE MAKING Venetian Point
ONE

HE richest and most beautiful of all laces is Venetian

Point, of which there are three well-defined kinds: (i)
Venetian Raised Point {Gros Point de Venise) (grow
pwan deh vay-neez') and Rose Point; (2) Venetian
Flat Point and (3 ) Venetian Grounded Point, or Point de Venise
;

a reseau (including Puntodi Bur ano) (poon'-toedeeboo-rah'-no).

To these magnificent and delicate laces around the branching foliage. This lace
the poetic name of Punio in Aria (stitch is very beautiful, though lacking in clear

in the air) was given to distinguish them
from older forms.
The most superb and the most compli-
cated of all Point Lace is Venetian Raised
Point, which differs from the ordinary
outlines. It has never been produced any-
where but on the shores of the Adriatic.
Venetian Grounded Point, or Point de.
Venise i rSseau, has a net background,
as the name shows. It was inspired by

needle point in high relief by means of a the Point d'Alenfon, produced in France in
padded cordonnet (the thread that out- in-itation of Venetian Raised Point. After
lines the pattern), which is button-holed Point d'Alenpon appeared, the Venetians,
over. The artistic patterns consist of hoping to win back the trade that they had
large, fantastic flowersopening from rich lost by the enterprise of Louis 3tl V's great
foli^e and scrolls in the splendid Renais- minister, Colbert, imitated the net ground
sance way. The patterns are connected of the French. The pattern, which was a
by brides, and the brides are often tipped new idea for Point lace, is usually of lilies,
with picots. The terms brides and picots are or other flowers, and the edge of the lace is
defined in the main article in this number. generally in the form of a shallow scallop
Rose Point differs little from Venetian that forms part of the design. The cor-

Raised Point. The. patterns are, however, donnet of Venetian Grounded Point is not
smaller; brides play a more important outlined in button-hole (as in Alengon),
part in the design; the enriching picots are but is merely stitched down round the
more abundant; and to the picots little outline of the pattern.
whirls and rosettes are added. The raised The manufacture of this Grounded Point
cordonnet, moreover, is edged with in- lasted in Burano (Venice) till the begin-
numerable loops. Because of the whirling, ning of the nineteenth century. It was
snowy effect of Venetian Rose Point the de- revived in 1872 under the patronage of the
scriptive name of Poirtt de neige (pwan deh King and Queen of Italy. The old Burano
nayzh) (Snow-flake Lace) had been given. laces were a coarser outcome of the Point

Venetian Flat Point is distinguished de Venise i reseau. The Burano makers

by the absence of the raised thread, copied the late Alengon patterns. The
or cordonnet. The brides are important mesh of theBurano resedit is square (as
in the general design and are tipped with in Alengon) and the cordonnet is (like
spiky picots. A variety of this is the Brussels needlepoint) stitched around the
famous Coralline Point, which, according outline. The Alengon way of covering a
to legend, originated with a lace-worker horsehair with a button-hole
outline

of Venice who took for her design the stitch was not followed at Burano. Bu-
net of her fisherman lover in which a rano mesh is rounder than Alengon; and
piece of sea-weed was entangled. The the unevenness of the thread gives Burano
general effect of Coralline Point is a tangle; rSseau a somewhat streaked, or cloudy
for the brides seem to wander at will appearance.

PREPARED BV THE EDITORIAL SIWVFK OF THE ME.VTOR ASSOCIATION

ILLUSTRATION FOR THE MENTOR, VOL. 5. No. «, SERIAL No. 130
COPYRIGHT. 1917. BY THE MENTOR ASSOCIATION. INC.
VENETIAN RAISED POINT
CHALICE VEIL. 1650
LACE AND LACE MAKING Point (TAlenqon
-THREE

OINT D'ALENgON has been called the "Queen of

Lace." It was first made in 1665. Louis XIV had
issued laws forbidding extravagant sums to be
spent by his courtiers for Italian lace. They
paid no heed. Thereupon Colbert, the King's prime minis-
ter, decided to improve the native laces and to make them
fashionable, hoping to keep the money at magnifying-glass, is a characteristic. An-
home. He, therefore, established a num- other characteristic is the thick outline
ber of schools, among which was one near (cirdonnel) which, being worked (with
Alengon, where lace was soon produced in button-holed stitches) over horsehair, is
exact imitation of Venetian Point. By firmer and heavier than that of any other
royal decree it was called "Point de lace. Point d'Alenfon is usually r^arded
France." The name lasted till 1690. as a "winter lace.'
An authority says: "It is impossible The factory became extinct during the
now to distinguish the earliest lace so Revolution, when many lace-workers were
called and produced in Alengon from the guillotined because of their association
finest Venetian Point. The designs are in with the aristocracy and production of
the same style and the workmanship is such an aristocratic adornment. In the
extremely beautiful; but by degrees, as days of Louis XVI, the riseau was sprin-
greater freedom was very wisely allowed kled with spots, tears, sprigs and insects.
to the workers, a new and separate style Revived in Napoleon's day, bees were in-
developed itself. The patterns became troduced. The "powdering," or sptinkling,
smaller and more delicate, finer thread was used in combination with flowers.
is still

employed than that made use of in Italy, At present the finest Point d'Alenfon is

brides became closer and more regular in made at Bayeux (by-yuh), in France, and
srrangement, and, 6nal1y, the needlework in Burano, near Venice. The magnificent
riseau (ground) was invented in imitation dress that Napoleon III bought for the
of the pillow laces of the neighboring Empress Eugenie in 1859 at the Exposition,
Flemish provinces, and we see attained in for which he paid 200,000 francs (S40/XX)),
perfection the style of lace now known as was of this lace. The Empress Eugenie
Point d' Alengon." gave it to Pope LeoXIII, who wore it as a
Stupendous prices were paid for this rochet (a garment similar to a surplice,
glorious lace. Its marvelous delicacy, but with closer sleeves or without
only to be appreciated by the use of a sleeves).

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION

ILLUSTRATION FOR THE MENTOR. VOL. 5, No. 6. SERIAL No. 130
COPYRIGHT. 1917, BY THE MENTOR ASSOCIATION. INC.
 5^ wasj^sSi
V
^- ,
^^ r"
"^^.:
H>*. a..
^. -^
K><>.X 1

'vi
KX.
w^ w
 LACE AND LACE MAKING Mechlin

FOUR

ALINES is the French name for Belgian Mechlin;

consequently its lace is known as both Point de

Malines (mah-leen') and

Mechlin. Before 1665
nearly all the lace made in Flanders was called
" Malines." The genuine Mechlin Point (not a needlepoint but
a pillow lace), called Point to define its quality, became fash-
ionable in England at the end of the seven- partridge eye; and also the Chantilly back
teenth century. Queen Anne purchased ground known as T^orui Chitit (fohn-shahn),
large amounts of it. Mechlin was also a which is a net made of tiny six-pointed
great favorite of Queen Charlotte. It is stars.
regarded as a "summer lace," and was The patterns of the earliest Mechlin lace
much used to trim the filmy Indian mus- resemble those of Brussels, but they are
lin dresses so fashionable in the early
heavier. A four-petaled flower as a filling
J nineteenth century. Mechlin lace was
for the spaces in the scrolls is one charac-
always costly. The Antwerp thread
finest
teristic of Mechlin.
was used. The ground and pattern are
Mechlin produced a style of its own.
worked together, and two kinds of riseau
The pattern, usually floral, forms the edge
are used; in one, the meshes are circular;
in the other, hexagonal. of the lace, and the riseau (network) is

Mechlin is also sometimes grounded on an sprinkled with small flowers, or spots.

ornamental riseau. The Fond de neige (fon The rose and carnation are the favorite
deh nayzh), meaning snowy background, flowers. Open spaces filled in with brides
is often used; also the Oeilde Perdrix give this exquisite lace a charming delicacy.
(u [as in urn]-ee' deh pare-dree), meaning Connoisseurs rank Mechlin very high.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION

ILLUSTRATION FOR THE MENTOR. VOL. 5. No. «. SERIAL No. 110
COPYRIGHT. 1917. BY THE MENTOR ASSOCIATION. INC.
VALENCIENNES=THREE SPECIMENS
EIGHTEENTH CENTURY
LACE AND LACE MAKING Valenciennes

FIVE

T is said that bobbin lace was begun at Valenciennes

in the fifteenth century, when the town belonged
to Flemish Hainault (ay'-no)
; but the Valenciennes

that we know
supposed to have been developed
is

from the lace factory founded by Colbert in the neighboring

town of Le Quesnoy (leh kay-nwah) The latter drops from .

notice as Valenciennes comes into favor. From 1725 to 1780 there were from
Le Quesnoy, according to tradition, con- 3,000 to 4,000 lace-workers in the town,
tributed the Fond de neige (snowy back- where they made what the trade called
ground) to the world of lace-workers. "vraie Valenciennes" (true Valenciennes),
Valenciennes is the most beautiful of all while the suburbs and vicinity pro-
French pillow laces. It is made in one piece, duced "fausse Valenciennes' (false Valen-
the same threads forming toiii (twah-lay) ciennes).
and reseau. Its peculiarity is the absence Valenciennes was not regarded as a
of any cordonnel. The riseau (network) is '^denlelle de grande toiletle" (lace for full
fine and compact, and the flowers (tulips, dress). Nor was it a "Church lace.' It
carnations, iris, or anemones) resemble was used chiefly for ruffles, cravats, fichus
cambric in tfexture (fee'-shoo), barbes, negligis (neg'-lee-zhay)
The earliest Valenciennes designs con- and trimmings. It was. however, tre-

sist of flowers and scrolls in thick, close mendously popular.

stitches. Minute circles form the reseau. Valenciennes lace fell with the mon.
Valenciennes was the most expensive of archy. After the Revolution, many lace-
all pillow lace to make, on account of the workers fled into Belgium; and Alost
number of bobbins required. It took one (al-lost), Ypres (eepr), Bruges (broo'-jiz),
worker ten months, working fifteen hours Ghent (gahn), Menin (may-nan), and
a day, to make a pair of sleeve ruffles for Courtrai (coor-tray) became centers for its

a man. The lace-workers sat from four in manufacture. The riseau of every town
the morning till eight at night in cellars, was distinctive.
earning only a few pennies a day. Many The Valenciennes
of the present day is
went blind before they reached the age of not so elaborate or fine as old Valen-
thirty. It was considered a great triumph ciennes.
when a whole piece of lace could be worked The dotted or "j«»i^"(seh-may'), pattern
"all by the same hand"; and such a piece is usually worked with a scalloped border,
was sold for a targe price. containing a leaf, or petal, or feather.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION

ILLUSTRATION FOR THE MENTOR. VOL. S. No. B. SERIAL No. 130
COPYRIGHT, mi?. BV THE MENTOR ASSOCIATION. INC.
 COURT TRAIN OF IRISH POINT
MADE FOR QUEEN MARY OF ENGLAND
LACE AND LACE MAKING
Court Train of Irish Point Lace
SIX

A.CE began to be a particular industry in Ireland

in 1829 and 1830. The first centers were Lim-
erick and Carrickmacross. Limerick lace is a
tambour embroidered on net. Carrickmacross is
distinguished by a pattern cut in cambric and applied on a
net ground. Other schools arose in various parts of the
country. Youghal (Yawl), Couiity Cork, coarse linen thread is "'couched" to the
has a reputation for needlepoint in the foundation. The worker then proceeds
style of the seventeenth century, and this to fill in the design with various lace
Irish Point Lace industry has an interest- stitches, attaching them to the outlining
ing history. In 1847, when famine was threads only.
raging in Ireland and the English Govern- Linen thread of varying fineness is used;
ment refused to help the starving people, in the very finestwork the meshes are so
a nun in the Presentation Convent, small that they cannot be counted.
Youghal, tried to think of some way by The illustration shows the magnificent
which she could alleviate the awful misery court train of Irish Point Lace that was
of the poor people. She had in her pos- made for Queen Mary of England on the
session a piece of foreign lace made in occasion of her coronation, the gift of the
Italy. Slowly and carefully she picked ladies of Belfast, Ireland. It was not fin-
out the stitches to learn the process by ished in time for the ceremony; but it was
which the lace was made. She then tried worn at the subsequent ceremonies of the
to remake the lace and found to her great Durbar at Delhi. The lace is composed of
joy that she could reproduce- it exactly. thread so fine that it was scarcely visible
She immediately taught it to a number of in the hands of the workers. There are
young girls, who soon became very profi- more than five million and a quarter
cient. With these girls the good nun
stitches in it and nearly twelve miles of
formed a regular school of lace-making.
the finest linen thread. Sixty workers
The money earned was a great boon to the
were busy upon it for six months.
starving people. The school continued to
prosper and to this day turns out exquis- The design consists principally of fuch-

ite lace.
sias and roses. The name of the place

The design is first drawn in general out- where it was made and the date are worked
line on stiff paper. This is transferred to into the left-hand comer— "YOUGHAL,
The transfer then 1911.''
transparent paper. is

tacked very carefully to thick white cot- The train is four yards long and two
ton material. Over the outUnes a rather yards wide at the bottom.

PREPARED BY THE EDITORIAL STAKF OF THE MENTOR ASSOCIATION

ILLUSTRATION FOR THE MENTOR. VOL. S. No. 8, SERIAL No. 13U
COPYRIGHT, 1917, BY THE MENTOR ASSOCIATION, INC.
 The Mentor Association
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